The three solo tracks performed by If, Bwana on this live recording are based on sounds played on the bassoon, flute, and guitar and make a wonderful introduction to his work with layered, pitch-shifted acoustic instruments. This stuff is among the best you can get in contemporary drone music – rich in texture, sensuous, emotional, and still abstract enough to “clear the mind.” On another two tracks, If, Bwana is joined by his local support group at this July 2012 gig in Germany for an unlikely but happy marriage of his layered sound textures, 50 Hz hum, and lots of electroacoustic sound gadgetry.
Supporting If, Bwana at his concert in Augsburg, Germany on 4 July 2012, local artists Sustained Development aka Gerald Fiebig, elektrojudas, and EMERGE teamed up for a free improvised set using sampled bass guitars, miked-up wave drums and induction coils, monotrons, and smartphone apps, also documented on this 2 CD set. Another two tracks resulted from the trio joining If, Bwana for a demonstration of the possibilities of experimental music, which are endless provided they are approached in an open-minded way. In this case, two very distinct idioms – calm, contemplative drones and fidgety, highly interactive glitch/noise improvisation – fuse perfectly thanks to the alertness of the players.
The LP is limited to 100 copies, each in a unique sleeve hand-painted by Tine Klink. You can order it here or by e-mailing email@example.com / Die LP ist auf 100 Stück limitiert, jede davon in einem handbemalten Unikat-Cover von Tine Klink. Man kann sie hier bestellen oder per Mail an firstname.lastname@example.org
„It moves very slowly, back and forth between the different sources and just sometimes you recognize the acoustic guitar, or the recorder. Sometimes playing together, but it seems that a lot of the times they are on their own, like stars at night – moving solely in the firmament. That seems to be the case here, with very occasional interaction. If that happens, in what seems to be the middle of the record, small melodies are formed around carefully placed crackles, slowly moving a gentle drone in to fade out in the end. Nice, gentle music.“ – Frans de Waard, Vital Weekly
„When it works, it’s great – what sounds like hell’s vibraslap plays in time with a martial beat. Ominous, immense organ heralds the coming of a pissed demon.“ – Luke Martin, Cyclic Defrost
The ’sound trilogy‘ was created for three successive performances in the studios of the artists Anda Manea, Gabi Fischer & Günther Posch, and Gerti Papesch. It moves from Word to Noise to Tone, confronting Fiebig’s poetry and fragments thereof with the sound of Günther Posch’s sculptures and an acoustic interpretation of paintings by Gerti Papesch, who also painted the cover.
Die Klangtrilogie wurde für drei aufeinanderfolgende Performances in den Ateliers der Künstler*innen Anda Manea, Gabi Fischer & Günther Posch und Gerti Papesch entwickelt. Sie bewegt sich vom Wort über das Geräusch zum Ton, indem Fiebigs Lyrik (und Fragmente davon) konfrontiert wird mit dem Klang von Günther Poschs Skulpturen und einer akustischen Interpretation der Bilder von Gerti Papesch, die auch das Cover gemalt hat.